Archive for the 'music' Category



Hello from Athens — er, rather, “Γεια σας”: in which the author just learns to process the thought, “Hey! I’m in Greece!

(That’s pronounced “Ya sas” for those of you who can’t read Greek letters.)

I checked in online on Tuesday; I was flying Indianapolis to Newark, with a nonstop from Newark to Athens. I had a window seat, and the plane was empty enough that I had two empty seats between me and the aisle. I thought I’d probably only need to check one bag, but I indicated two just to be on the safe side — I had packed an empty carry-on suitcase in my big suitcase, both to keep myself from overpacking as well as to have a carry-on for side trips, and to give myself room to pack gifts on the way back. I had an empty duffel bag in which to pack overflow if it actually turned out the suitcase was over.

Wednesday morning, when I actually checked in at the airport, I was told that they were a bit concerned about me not having enough time in Newark to make my connection, but not to worry — they would reroute me through Charles de Gaulle Airport in Paris if there was a problem. Still, everything looked good for the Indianapolis flight to be on time, so looked like everything would be all right. I wound up having to move a few things into the duffel bag after weighing the suitcase, and I checked both bags.

Saying goodbye to Flesh of My Flesh at the airport with me being the one taking off for the summer was very strange feeling. She’s gone away four summers in a row; now it was my turn to go off and have an international adventure and for her to stay home. How would this time be different, with our roles reversed? Ask me again in two months.

The plane boarded, we pushed off from the gate only slightly late, taxied off… and parked on the tarmac for an hour and fifteen minutes. Air Traffic Control had issued a new wheels-up time just as we closed up the plane for an hour and a half later, so there we sat. It was a tiny aircraft, and even with nobody in the seat next to me it was cramped. Air travel FAIL.

My flight to Athens was at 5:30pm; perhaps it would be delayed as well and it would be no big deal. Arriving in Newark at 5:26pm, the gate agent looked up my flight — “It’s still listed as on time,” she told me. “But who knows — you might still make it.” Of course, the gate for the Athens flight was all the way on the other side of the airport. Even with a shuttle bus, it took twenty minutes to get over there, by which time the flight was long gone. Air travel FAIL.

I was rebooked for the Paris connection; that meant waiting in Newark for another four hours, and it would also mean arriving in Athens at 4:30pm rather than 10:30am. Air travel FAIL.

Turned out I wasn’t alone; I met an IU undergrad named Alex Edwards who was on her way to participate in an archaeological dig on the island of Aevia, and for whom this was her first major international trip. “Well,” I said as we stood in line to get our flights rebooked, “the good news about this kind of rough start is that there’s someplace for the rest of the trip to go.”

The good people at the Archives of Traditional Music had gotten me a rather hefty iTunes gift card as a parting gift, so I decided to buy a pair of video glasses for my iPod and download some movies to watch on the flight to Paris. I bought Burn After Reading, Star Trek the Motion Picture, and Star Trek II: The Wrath of Khan. Unfortunately, it turned out that, at the speed of the Boingo hotspot at Newark, it would take about three hours to download the movies, and by this point I had less than an hour. I’d have to finish downloading them once I got to Greece. Also, the goggles themselves would require charging overnight before I could use them. Finally, I discovered in horror that my iPod power/sync cable had managed to be left at home, so I had to buy one of those too. Wi-Fi FAIL; Inflight entertainment options FAIL; Richard packing FAIL.

The flight to Paris boarded late; it was also jam packed. I still had my window, but boy oh boy was I crammed right up against it for the duration of the trip. Flying Northwest I’ve become accustomed to international flights being noticeably better and more comfortable than domestic flights; this is not the case with Continental Airlines, it would seem — word to the wise. Rather than any additional legroom, with the couple sitting next to me I had exactly one inch short of enough room to extend my leg at all comfortably; as a result I had a bad cramp in my knee two hours into the flight about which I could do exactly nothing. A good number of people on that flight seemed to be there because they had missed another plane, and were all in the resulting absolutely sunny mood. Even when I went to the bathroom, within two minutes there were angry pounds on the door. Needless to say, I didn’t sleep. Air travel FAIL.

Flying in over Paris really is lovely, I will say that; the countryside is green and open and seems like a place I’d be very interested to explore. On the other hand, Charles de Gaulle Airport is nothing I really needed to see under the circumstances. The best thing I can say is that between getting a coffee and croissant and navigating through the barely-organized chaos that was boarding the flight to Athens, I got to use un petit peu of my French. I will also say that I got to see the humorous sight of a group of nuns going through security and having to take out laptops.

The Paris-to-Athens leg of the trip had me, once again, packed in with the rest of the sardines, meaning I didn’t sleep — or rather, I did sleep for a bit until the flight attendant dropped a can of tomato juice into my lap. Air travel FAIL. (That said, we did get real food on the Air France flight.)

Landing at Athens International Airport, I noticed with some amusement that I could see a very large IKEA from the air, with an Orthodox church at the end of the parking lot. Yep, I thought, this is Greece.

My big suitcase was the first bag off the conveyor belt; after twenty minutes, though, it became clear that the duffel bag hadn’t made it (and neither had any of Alex’s luggage). After another twenty minutes in line at customer service, I found out the bag was still in Newark (Air travel FAIL FAIL FAIL) and would be delivered to me the next day.

So it was that at long last, my friend Anna Pougas and her dad Giorgos found me, a bedraggled, sweaty, tired Anglo in a Panama hat, ultimately about seven hours later than originally planned. Nonetheless, when Giorgos asked if I wanted to see anything before we went home, I said yes, absolutely.

We walked around Porto-Rafti, a lovely bay with beaches and swimming, as well as old trenches from World War II. We also drove by the temple of Artemis where Iphigenia is said to have been buried, and then had very decent seafood in a restaurant by the harbor. Interestingly enough, there’s a music store in the area called “Ριχάρδος Μουσικός Οίκος” (Ριχάρδος being a Hellenicization of Richard — “Rihardhos”). If I had been sharp enough at the time, I would have taken a picture. Perhaps later.

By the way — if you ever plan on coming to Greece, be aware that the culture of driving is much different from what it is in the States. Chalk Athens up as another European city in which I would never want to drive (so far, that’s just about all of them in which I’ve travelled), and here it’s because drivers here are simply much more aggressive by custom. I suppose we could say that here the rules of the road really are guidelines at best. The other side of this is that, when you’re talking about people who have driven this way all their lives, it’s not really a problem — they know what they’re doing. For me, however, I think my inexperience with that kind of driving would just make me a hazard on the road.

When we got to the Pougas’ house in Halandri, I immediately jumped in the shower and subsequently collapsed in bed. Jet lag? What jet lag?

The next day I woke up around noon. After my bag was delivered, around 3pm, Anna and I walked into the downtown part of Halandri to see if I we could get my cell phone situation straightened out. (Side note: there are pomegranate and orange trees just growing in people’s yards and on the sidewalks.) I’m an AT&T customer so my phone — a Samsung SGH-A437 — is quad-band, and they had given me an unlock code so I could replace the SIM card overseas. We went into a Vodafone store, I unlocked the phone, put in the card they gave me, and… “Wrong card,” the phone’s display told me, even after entering the PIN for the card. I tried again. “Wrong card,” the phone’s display stubbornly repeated. “It’s difficult with Samsung phones,” they told me. Cell phone FAIL. Anna said that they had an old unused phone at home that I could use for the time being; ironically, it turned out to be the same Nokia phone that Megan has loathed for the last two years.

One thing I discovered really quickly: much like London, where Anglican churches are virtually around every corner, so it is here with Orthodox churches. You can’t swing a dead cat without hitting a church. It’s also clear that, in most instances, the churches were here first, and people built around them (with one case in particular being a remarkable demonstration of this, but I’ll get to that later). The central church in Halandri is St. Nicholas Church, and we attended Vespers there. There’s a lot of restoration of the frescoes going on inside; on the north wall are very bright icons which have clearly been cleaned up, and scaffolds are around indicating that work is being done. From the darkness hanging over a lot of the iconography, it’s apparent that a lot of work is needed — I don’t know if it’s particulate from incense or just what happens to egg tempera after a century or so.

It was a Friday evening, and much like the States, weekday services are clearly expected to have, er, light attendance — the priest did it entirely as a reader’s service, and I mean as a reader’s service. Nothing was sung at all except for the apolytikion for Pentecost — everything else was simply read, and quickly. We were out in less than half an hour.

We walked around afterwards — Anna showed me the new church which is being built in Halandri, St. George, which she said has been under construction all of her life (her brother was baptized in the basement, where they’ve held services up until a few years ago when the nave was finally ready) and for which Giorgos later said he remembered helping to dig the foundations as a boy. Only (“only,” I say as an American who worships presently in a church that’s just trying to figure out how to not look like an office building) the apse and dome are frescoed at this point, and the bell tower is still being finished; “That’s still a lot farther ahead than many churches in America,” I said.

After our little walking tour of Halandri, we headed back to the house to find Giorgos. We were meeting Anna’s brother, Stephen, and his girlfriend Liana to go out to a movie — and I mean out. As in outdoors. Drive-in without the cars. The movie? Well, it was Angels and Demons (Dan Brown FAIL), but never mind that now. Beyond the novelty of watching it in the open air with a concession stand where I could have ordered a martini if I had wanted one, it was also a useful exercise to listen to the English soundtrack while trying to follow along with the Greek subtitles.

Saturday, Anna and I decided to head into downtown Athens and attend Vespers at St. Irene, which is Lycourgos Angelopoulos’ church. (Gavin Shearer, this paragraph is for you.) Athens’ gradually expanding metro system is really nice; on the whole, I have to give a big thumbs-up to the public transportation system here, which seems to be very useful and quite economical. I’m paying 35 Euros for a monthly pass that gives me access to everything — buses, the metro, streetcars, even some of the regional rail I think — as opposed to the 30 pounds we paid apiece for the weekly Tube pass in London. As I said, the system is new (I think it opened in 2001) and thus is still expanding, so there is no metro station near where I’m staying (but there will be one a five minute walk away in a year or so!), but the buses also aren’t too bad. (And hey, the Athens metro even has its own version of “Mind the gap”.) As it is, we made it to Syndagma Station, in central Athens right by the National Gardens, without a whole heck of a lot of muss or fuss. Real cities have trains.

Here’s some useful advice about walking around downtown Athens: there is no such thing as a soft sell there. If you’re walking around the tourist-heavy areas, everybody will be trying to get you to come into their shop or sit down at one of their tables; if you go into a shop, they will do everything they can to get you to leave some of your money there. I was more-or-less prepared for this and only went into a shop because there was something specific I wanted (a little triptych in this case), and only discussed with the saleslady the exact item I was buying, no matter what else she tried putting in front of me. Interestingly enough, she assumed I was Russian; this is not the first time Greeks have jumped to this particular conclusion about me (such as when I visited the Greek cathedral in London a couple of years ago). I’m not sure what that’s all about, but never mind. “Ευχαριστώ, όχι” (Efharisto, ohi “Thank you, no”) coming from the lips of an Anglo raised more than a few eyebrows, and not all of them with respect; I got more than one snarky “Μιλάς καλά Ελληνικά!” (Milas kala Ellinika “You speak Greek well!”) After a couple of those I wanted to reply, “Όχι, δεν μιλώ καλά και το ξέρω!” (Ohi, dhen milo kala ke to xero “No, I don’t speak well and I know it!”)

We got much-needed coffee from Χατζή (“Chatzi’s”), and soon found a rather stark example of a church being there first and people building around it. Here is the chapel of the Holy Power of the Virgin, a chapel of the monastery of the Dormition at Pendeli. In the United States, obviously developers would do everything they could to buy and demolish the property; that they don’t do that here may lead to what look like awkward solutions, but they are definitely conversation starters.

Just a little further down is the Cathedral of the Annunciation, the cathedral of Athens. Services are not being held right now while renovations are happening, but it is still open to the public. Among other things, they have the relics of Patriarch St. Grigorios V (the icon over his reliquary even depicts him hanging in front of the Phanar) and Athenian St. Philothei.

By the way — even the phone booths here are with LEMON!

And how much do you have to love being able to stand on one street corner and see a centuries-old church (foreground), a centuries-old mosque (right), and the Acropolis (hill in background)?

After walking around a bit, we ate a late lunch at Thanasis, a souvlaki place a few blocks from the Cathedral. There I developed a new love: tirokaftiri. ‘Nuff said.

As might be expected, Vespers at St. Irene Church with Lycourgos Angelopoulos as the protopsaltis was a much different experience from the Friday night Vespers at St. Nicholas, to say the least. All I can say is that was the fullest Great Vespers I have ever experienced, in every sense of the word. The church is beautiful, it was celebrated reverently without a single thing cut (although, curiously, “Gladsome light” was read, not sung — as was the Nunc dimittis, for that matter, but I already knew that to be read in Byzantine practice), and it was sung by left and right Byzantine choirs. All told, it was about an hour and a half.

Observations about churches in Greece: all but one I’ve been in so far have a left/right choir setup in front of the iconostasis in the part of the church which would actually have the architectural term of “choir” — that is, between the altar (the iconostasis in this case) and the nave, with a rail in front of the nave. This has the positive effect, particularly when one sees how the two choirs interact with each other, the clergy, and the congregation during a service, of making the two choirs integral parts of the church architecture in a way that reflects the basic cruciform structure of the building. This also strongly emphasizes that the clergy, left choir, right choir, and congregation all have distinct roles in a given service, very much unlike how in many American churches the two choirs have been collapsed into one, which is then for all intents and purposes collapsed into the congregation.

This also has a couple of effects which no doubt many Americans would immediately find distasteful: it means that the altar is farther away from the congregation than it would be without the choir, and it also means that the congregation’s role, generally, does not involve singing — at least nowhere near as much as one finds in many American parishes. While acknowledging that I say this as a church musician who has the role of singing during services one way or the other, I would like to stress that, in context, these are not the Very Bad Things that some might already be thinking they are. When it is working, there is not only no confusion, but there is really no particular reason for the congregation to sing along. The choirs are leading the worship in a different way, and to a very real extent it would seem arrogant in this context for a member of the congregation to try to sing along — the piety of the congregation is largely silent and inwardly-focused, and these are people who would be scandalized by it going any other way. Seen thus in action, I would be hard-pressed to describe the members of the congregation as not participating — it is only that participation means something else than what we often mean as Westerners. It will perhaps be no surprise to find out that I think there’s something there we Americans learning to be Orthodox can draw from this manner of piety — certainly something more than we’ve convinced ourselves is worth taking from it.

The churches also all have galleries (i.e., upper levels in which to stand in the nave), there is a tendency (but by no means a rule) to have the women standing on the left and the men on the right, they all use amplification, they all have rows of chairs, and there’s a good bit of Western-style iconography in most of the older churches. I asked Anna about the chairs; she said that as long as she can remember, churches have had rows of chairs in Greece. (Notice I didn’t say “pews”.) I am curious to find out if this a recent, urban development, or if the simple truth is that, quite frankly, the churches I’ve been in so far have been populated mostly by people over sixty. Yes, it’s true; Orthodox Christianity in Greece seems to be pretty much the faith of the elderly. God bless their steadfastness, but somewhere along the way the faith didn’t get passed on to their children or grandchildren except in a handful of instances.

The poor also tend to congregate outside of churches here. This makes sense; the churches are in population centers, and there is reason to believe that people going into the churches might be willing to be instruments of charity. This is convicting to me, accustomed as I am to the local church being well away from the rest of the world and inaccessible to the poor and being culturally accustomed to ignoring the people we deem “panhandlers”. Can I go into a church and in good conscience worship the God-man who told me to clothe the naked and feed the hungry while ignoring those very people at the door? How do I know that they are truly in need? Do I have the right to judge? What do I do? I do what I can at any given moment, I suppose, whatever that is, make the Sign of the Cross, and pray I’ve done the right thing, whatever that is.

Sunday morning, we attended Divine Liturgy at a little church in downtown Athens, St. Nicholas (there are just a few of those in the area). It was quite different from St. Irene; it was very small — perhaps seventy or eighty people would fit in there total — small enough so that they didn’t have sufficient space for left and right choirs, nor the extended choir area in front of the iconostasis. There was a very different character of service here than I found at St. Irene; there were liberal cuts all over the place (during Orthros they jumped from the Gospel reading to “More honorable than the cherubim…”, the Great Doxology was trimmed down significantly, there were only two iterations of the Trisagion instead of three, only the Resurrectional apolytikion was sung followed by the kontakion and all the festal apolytikia were omitted, etc.), and while the choir was all men, they sang almost entirely four-part music. It was somewhat disconcerting; the sound approximated that of a barbershop ensemble singing Russian music in Greek. That said, they sang with as much gusto and enthusiasm as they could muster, and it was beautiful even if it left me scratching my head a bit. The priest did not question my coming up to the chalice at all, although I did not realize unil after I had received that, with no servers, it was up to me to hold the napkin to my chin. Richard taking Holy Communion FAIL (although, thankfully, knowing the ins and outs of local parish practice are not a general requirement for partaking so far as I know).

Following Liturgy, we went across the street to the Byzantine Museum. Reading their brochure, it said that students of non-EU universities who were doing Classical Studies or Fine Arts could get in for free with a student ID; I showed my ID at the door and was told I would have to pay because I was a non-EU student. Right, I explained, having anticipated the misunderstanding; your brochure says that’s fine, given my area of study (which I didn’t think was too much of a stretch of the truth). The woman’s brow furrowed and she picked up a Greek version of the brochure. Finally she nodded, but still had a confused look on her face. “I guess that’s what it says,” she told me, and waved me in. Glad I read the fine print more closely than she did.

The exhibit there is decidedly more modest than that at the Royal Academy of Arts back in February, but it had the advantage of not presenting it as “Look at how these crazy, backwards, superstitious Byzantines did things”. It is far more matter-of-fact with less editorializing. The exhibit guide was going at far more leisurely a pace at each section than I had patience for, however, so I worked my way through it on my own. Definitely worth the visit for the iconography portion; it’s also fun to see prosphora seals from Late Antiquity.

Lunch was in an Athenian suburb a little bit north of Halandri called Kifisia; for those of you with a point of reference in the Pacific Northwest, this would be the Attiki Bellevue. We went to a souvlaki place (“Dear Lord, thank you for our daily souvlaki,” Giorgos said) called Gourounakia Kifisias (“The Little Pigs of Kifisia”), and I once again swooned over my latest crush, tirokafteri. (Food here will be an entirely separate posting, as will, I think, travel tips for the heat sensitive.)

Back at home, I called Ioannis Arvanitis and set up a meeting for Monday; shortly thereafter, I started to fall asleep while e-mailing somebody, and I decided retreat was the wiser part of valor, particularly since the next day would be my first day of school.

More to come.

DISCLAIMER: I am not, nor have I ever been, a Doctor of Musical Arts

Today, as I mentioned might be happening a couple of weeks ago, I did a phone interview for one of the bigger Orthodox media presences regarding my choir schools piece in AGAIN. I still don’t want to give a ton of details until I know for sure exactly what’s happening, but what I can say is that it was fun, the people involved were really nice, and we had a lovely chat. I look forward to hearing how the whole thing gets edited together; I’ll say right up front that for all I know, I could sound like a complete, raving idiot, or I could sound like somebody with an interesting notion worth discussing further. One way or the other, I’m happy to have had two excellent opportunities, in print and in broadcast media, to talk about an idea that I’ve been trying to interest other people in for four or five years now. If the conversation dies here, it won’t be because I didn’t have an audience.

One thing I want to get out of the way now, however: I was initially referred to as “Dr. Barrett” (before we were recording, thank God), and somehow somebody seemed to have the idea that I’m an instructor of music at Indiana University. Neither is the case, I have never represented myself as either one, and I’d really hate for somebody to think I’m claiming to be something I’m not. I quickly made sure the interviewer understood that was incorrect, but for purposes of clarification:

I work at Indiana University, and I am doing graduate work here, but not in the School of Music, and at this time I only have a Bachelor’s degree in Music from IU, with Voice Performance as my concentration. I am not presently, and never have been, an instructor of any kind at Indiana University. I have had some private voice students, and I am the choir director and cantor at All Saints, but that is the extent of my activity as a music teacher at this time. At the moment I work for a unit on campus called the Archives of Traditional Music, but it is not in an academic capacity. I will be leaving this position at the end of next week anyway to be a full-time student again. At some point in the future it will be possible to call me “Dr. Barrett,” but not for awhile yet, and it won’t be in music.

Just so we’re clear. Like I said, I’d really hate for somebody to get the idea that I’m claiming some status that is not in fact mine to claim. I have too much respect for the people who do have terminal degrees!

Anyway — I will post more details as I have them.

Newsflash from New Liturgical Movement: “Chant and polyphony call for a live space with a natural acoustic”

Jeffrey Tucker at The New Liturgical Movement briefly talks about issues related to amplification and acoustics within a nave. It’s a few days old now, and the points are reasonably obvious, but nonetheless worth making. This section in particular, uh, resonates with me:

The liturgical choir, however, is there to assist the ritual and be part of a sound framework that is broad and inclusive of the entire space — to be part of something larger than the sound it is making.  […] Chant and polyphony call for a live space with a natural acoustic, and… [thus] I’m not sure that it is really possible to talk about acoustics without dealing with the style issue. How a parish deals with the issue of [acoustics] can be very revealing as to what the designers and decision makers regard as the modal music of parish life.

This is an issue with which the people who sing at my parish are currently struggling (including the priest); it is a building which was built in 2001 as a temporary space, intended in the long term to be the education wing of a larger complex which was intended to include a bigger Byzantine-ish temple with, likely, a reasonable acoustic. Because the nave was going to be classroom space eventually, it was built as acoustically dead as they could possibly manage. Low ceiling, ceiling tiles, carpet. The room actually sucks sound out of you before you ever have a chance to phonate — and that’s a feature, not a bug, according to the people who helped plan the current space. They figured the bigger complex was just a few years down the road, so it wouldn’t really be that big of a deal.

Well, already in 2003, they were realizing it was probably going to take another ten years before they would be able to build the church on which they had counted; now, eight years after the current building opened its doors, we’re looking at likely ten years before we’ll be able to knock down a couple of walls to expand what we have, let alone build another building. What we have is what we have, and that is not likely to change any time soon.

As a result, the conversation has shifted to how we can make the most of our “temporary” space that hasn’t actually turned out to be temporary. This effort was begun in earnest this last January, and a good amount has been accomplished since those pictures were taken. Still, a coat of paint isn’t going to fix the acoustics, and our focus is turning to what we can do about the acoustics. For me, it’s not an abstract question; it’s like singing into a wet towel, and I’ve been doing it for six years now. It takes a toll.

Truth is, there’s little we can do. The support beams in the structure above the ceiling tiles are horizontal; we’d get maybe eight inches if we took them out. This means we can replace the carpet with something less absorptive, like beauty bark, and/or replace the ceiling tiles with something a little less absorptive. The trouble is the next question which gets asked: how do we justify spending the money to do any of that when this building is intended to be something else in the long run, and spending the money now would simply set us back farther from being able to build the next phase?

I bring all of this up for two reasons. First of all, if there’s anybody who reads this who has solved a similar problem or has ideas regarding how this problem could be solved, I’m all ears, baby.

Secondly, I think this comes back to Mr. Tucker’s point: how those involved with decision-making at a parish deal with acoustics says a lot about what they think is important with respect to music. To that end — let’s be real, guys, we’ve got a 90% sung Liturgy. If it can’t be heard past the third row when the choir is screaming themselves hoarse, that’s a problem. I entreat anybody reading this who is ever involved either with mission planting or the building of a new church building — plan for the acoustics. Plan for the choir. Plan for the vocal health and longevity of the people who sing. Put a mission in a space that is reasonably live — nonstandard acoustics will hurt you, not help you. Involve the cantor/choir director in the design of a new building — they will be able to tell you what they need, and at a minimum, a vaulted ceiling with a floor that isn’t one giant sound absorber should be treated as a reasonable starting point. In general, please don’t deliberately hobble your singers and then say, down the road, when asked about it, “Sorry, we actually intended it that way.” Your clergy will thank you, too, particularly during Holy Week.

These things, truly, are not “nice to haves”. They are “need to haves”. It’s not a snobby musician thing; it’s the fact that if we get callouses on those two little flaps of flesh in our vocal tract, we’re done.

Churches are the last venue where one is at all likely to hear live, unamplified music anymore on a regular basis; we aren’t going to hear it at home, we aren’t going to hear it at school, and heck, a lot of the time we aren’t even going to hear it in an opera house anymore — and even in a lot of churches you’ll find amplification out the wazoo. Our ears have become accustomed to the nonstandard room as being the standard, and then just being able to turn up the volume if we can’t hear something. I cringe every time I see somebody chanting into a microphone; somebody has missed the point in that instance, and it’s either the person insisting on using the microphone or the person who has insisted that the cantor needs a microphone.

For further reading, I suggest Thomas Day’s Why Catholics Can’t Sing. I also published an article a few years ago in The Journal of Singing on this topic — maybe I’ll repost the text here.

Ethnomusicology: “Right Singing in Estonian Orthodox Christianity: A Study of Music, Theology, and Religious Ideology” by Jeffers Engelhardt

As I’ve more or less said before, I’m not an ethnomusicologist, but my interests do tend to at least touch things ethnomusicologists care about and vice versa. Thus, I at least keep my eyes open, and also as I’ve noted before, I’m in a good place to to do so (at least for the next two weeks).

The current issue (Winter 2009, Vol. 53, No. 1) of Ethnomusicology: The Journal of the Society for Ethnomusicology has an article titled, “Right Singing in Estonian Orthodox Christianity: A Study of Music, Theology, and Religious Ideology,” by Amherst College faculty member Jeffers Engelhardt. It is “an intimate musical ethnography of how Estonian Orthodox Christians at a small parish in Tallinn are making their liturgical singing ‘right'” (p.32), and seeks to examine the questions,

What do musical change and religious renewal reveal about the dynamic interrelationship of theologies and musical styles? How are orthodoxy and orthopraxy established musically? How do local histories condition the possibility of current and future practices? (p.32)

These are great, practical questions, and Prof. Engelhardt has been able to base his exploration of them on practical experience — between 2002 and 2007, he spent a lot of time conducting field research at Cathedral of Saint Simeon and the Prophetess Hanna in Tallinn, including singing in the choir (although, as he notes, he is not an Orthodox Christian himself).

Prof. Engelhardt makes several excellent points and observations; he places his work in the context of religious renewal for Christians in general in Estonia, which is “a process of investing their lives in the post-Soviet order with a particular morality and soteriology.” Estonian religious renewal is significant because

[it] both recognize[s] and resist[s] conventional aspects of the modernity mythologized in post-Soviet and postsocialist transition and ostensibly figured in the European Union: democracy, liberal pluralism, secularism, free markets, cosmopolitanism, universal human rights, consumerism, individualism, “normalcy,” and benign nationalism. (p.36)

For the Orthodox Christians in particular, “right singing” is an ideal which exists in this context;

it is a musico-religious poetics whereby Orthodox Christians are transforming understandings of personhood, human ecology, and secularism in Estonian society through sonic ideals that have decided moral and ideological dimensions. […] Thus, the musical and liturgical practices, congregational life, and institutional affiliations of local Orthodox communities in Estonia bring together a host of aesthetic, theological, social, and ideological concerns. All of these concerns coalesce in the idea lof right singing… [which] is a conduit of illumination and transforms invidiual and corporate bodies into Orthodox bodies of Christ. Right singing creates the correct unity of doxa (belief) and praxis (practice) that is the conservative essence of Orthodox Christianity. (Ibid.)

Prof. Engelhardt follows up on this point by suggesting that “[i]f the singing is right, then the belief expressed in that singing is right; if the belief is right, then the musical practices grounded in that belief are right” (p.37).

In other words, religious renewal in Estonia is not just about reclaiming something repressed during the Soviet era but about fundamentally trying to reshape the world around them into something consonant with their Christian faith; furthermore, “right singing” is not just an expression of these aims for the Orthodox Christian in Estonia, but one of the instruments through which the aims will be completed.

Given this, one of the really interesting points of Prof. Engelhardt’s analysis of the Cathedral’s practice is when he speaks of using Byzantine music for special Liturgies, such as a specific example where a parishioner was to be ordained to the diaconate.

There are a number of reasons why [the Cathedral] would use [Byzantine music] to make this liturgy special. Singers, priests, and parishioners at the Cathedral…invest Byzantine chant and styles of singing perceived as temporally or geographically distant with special significance. These ways of singing are right because they sound the right religious ideology and create the right religious imaginary [sociological term referring to a set of values, institutions, laws, and symbols common to a particular social group and the corresponding society]; they distinguish Estonian Orthodox musical practices from Russian Orthodox Obikhod-inspired practices. For [the Cathedral], Byzantine sounds are “right” because they are “more archaic” and “more monastic” than the Estonian Orthodox traditions with marked Russian Orthodox and Protestant Lutheran influences; Byzantine sounds bring worshipers to the “right level”… [and] Byzantine ways of singing are “more ascetic” and evoke the “feeling” that is such an important part of Orthodox Christian experience… [and] Byzantine ways of singing bring [the congregation] “to the source” of the Christian tradition[.] (p.39-40)

This interlocks with earlier point of how “right singing” (orthopsalmody?) is an ideal which exists in the context of religious renewal in Estonia: “[F]or Orthodox Estonians, the trajectories, geopolitics, ideologies, and moral norms of this kind of transition do not correspond entirely with the Orthodox lives they imagine leading” (p. 41), therefore

[r]ight singing is…how Orthodox Christians situation themselves within a global religious imaginary… [which] has enabled religious renewal and, in the process, established alternative, Orthodox perspectives on the modernity being fashioned through post-Soviet transition, reframing its liberal ideologies and doctrine of secularism. The Byzantine aspects of right singing, in other words, create a form of “morally inflected cosmopolitanism”…that is given voice through liturgical practice[.] (p.44)

He reaffirms and restates this point a little later:

In general, then, what is sung at the Cathedral…and, just as important, how it is sung, localizes temporally and geographically distant Orthodox sounds in order to make singing right… Byzantine is a chronotope (a temporal and spatial field of action) incorporating aspects of musical style, theology, and religious imagination that captures what singers sense as the archaic, originary, and more authentic qualities of their way of singing. Negotiating this kind of proximity…within a global Byzantine imaginary as part of the ongoing renewal of Estonian Orthodoxy and amidst ongoing social, economic, and ideological transformation, then, is a process of making singing right. (p.46)

Prof. Engelhardt concludes with some startlingly sympathetic observations:

The ideal of right singing gives voice to eternal religious truths that empower Orthodox Estonians to live faithfully and in relation to God, one another, and a global religious community. The soteriological, ethical, and affective dimensions of right singing are profound, and by singing the right way, Orthodox Estonians realize their full humanity through the unity of beauty and truth, aesthetics and veracity. […] By endeavoring to sing the right way… Orthodox Estonians work at incrementally transforming themselves, their Church, and their world into this likeness [of God]. Musical practice, in other words, is an agentive means of religious transformation as it shapes individual and communal disciplines, sensibilities, and moral actions. (p. 50)

Prof. Engelhardt’s ethnography is very thought-provoking, and it is remarkable how applicable the picture he paints of the situation in Tallinn is to the Orthodox church choirs in the United States I’ve seen or with whom I’ve sung. While not using the specific technical language of ethnomusicology and sociology, I’ve participated in many conversations about Orthodox liturgical music that wind up in largely the same place as this article. One question that comes to mind is, just as much as the “Byzantine imaginary” allows Orthodox Estonians a means to frame their responses to modernity, I wonder to what extent we might hypothesize that some Orthodox Americans, or even Orthodox Christians elsewhere, wish instead to synthesize modernity with the Byzantine imaginary? What does that look like? How does the synthesis differ from the response?

Now, a questionable point, at least for me, is methodology. A large portion of Prof. Engelhardt’s fieldwork depends on his perspective as a participant in the choir, and he acknowledges that while he is participating with the faithful, he is not participating as one of the faithful. Without getting into the question of whether or not one should sing in the choir if one is not Orthodox, I’ll just say that it begs the question of how his observations were colored by the perspective of a non-believing participant. I don’t doubt that it likely helped to make his observations as sympathetic as they are, but it seems to me that there are lines being crossed with this methodology. Again, I am not an ethnomusicologist, so I acknowledge I raise this question from a standpoint of ignorance, and I would be curious as to how an ethnomusicologist might answer this concern. One way or the other, this is a methodological approach that strikes me as at least requiring full disclosure — that is, it not being enough for the researcher to state that they are a non-adherent; rather, a statement of of what the researcher’s religious beliefs actually are is needed to clear up any ambiguities. I could very well be totally wrong on this point, and if I am, that’s fine, but that is my initial reaction.

In all fairness, Prof. Engelhardt acknowledges the problem to some extent, noting that not being an Orthodox Christian presents certain challenges to this kind of work:

The ideal of right singing gets at things that are hard for ethnomusicologists to get at: belief, faith, the numinous, and apophatic ways of knowing through negation rather than through the positive statements of modern scholarly practice. The challenge for non-Orthodox ethnographers like myself, then, is to apprehend at all the correct unity that makes singing right. (p. 37)

Another shortcoming is the bibliography; of 125 total references listed, literature which specifically treats Orthodox Christianity only gets six entries. Of those six works, four deal with Orthodox sacred music, three of which focus on Russian practice. Given the prominence of Byzantine chant in the ethnography, it is odd to me that the references would not reflect more substantial reading and understanding in that area. Some citations talking about theology of icons or liturgical aesthetics in general would also seem appropriate, given how Prof. Engelhardt synthesizes his points in the conclusion.

There are also some curious imprecisions here and there; there is a quotation on pp. 35-6 from the “Canon for Sunday Orthros,” which hardly narrows down exactly which Canon it might be (and his translation from Estonian isn’t a lot of help, either). He refers to the diaconate being the first step in becoming a priest; while it can be, yes, it is not the prescriptive matter that he implies. In another instance, he speaks of “an authentic Orthodox theology of sound” (p. 49) without clearly stating what that might be or providing a citation.

Having noted these points, however, I think there is much to appreciate about Prof. Engelhardt’s work, and whatever I may wonder about his methodological approach, I applaud his willingness as a non-Orthodox Christian to treat the musical practices of Estonian Orthodox Christians on their own terms. If you are interested in reading the entire article, it is not available online, but if you’re near a university library, they should have the journal on their shelves.

I’ll close with Prof. Engelhardt’s final paragraph, which is perhaps the part every scholar who works in areas related to religion should read:

Beyond these conclusions about why the right singing of Orthodox Estonians is right (conclusions based on a musical ethnography of orthopraxy), one verges on matters of belief and faith (the inwardness and veracity of doxa) that reveal the limits of how modern, secular scholarship produces knowledge… Suggesting how musical style, religious ideology, and sociohistorical circumstance affect the rightness of sound is only part of the story. The other part of the story is about the epistemology given voice through the outward expressions of orthopraxy; it is about the ineffability of some religious experiences, the unverifiable efficacy of some rituals, the possibility of divine revelation, and the corporeal sensibility of the authentic, all of which are no less real or true than musical style, religious ideology, and sociohistorical circumstance. Regarding these profoundly significant aspects of right sounds, one must, I believe, defer to those for whom they are right, stopping short of any complete representation in order to recognize and reflect on their ultimate meaning and power in the lives of the faithful. (p. 52)

The Voice of the Lord: Selected Hymns from the Feast of Theophany

Yesterday I came to home to an unexpected surprise: a complimentary copy of The Voice of the Lord: Selected Hymns from the Feast of Theophany, a new recording of Byzantine chant in English dedicated to the memory of Sonia Belcher. Sonia was a dear friend of my priest and his family, and when she passed last February, Fr. Peter spoke about her quite a bit. This CD is quite the labor of love, to say the least, and proceeds from it will go to support The Theophany School in Boston, an Orthodox Christian school which began largely as a result of Sonia’s effort and perseverance.

The collaborators on the project are impressive, to say the least. Hieromonk Ephraim of St. Anthony’s Monastery (aka “Papa Ephraim”) composed the English-language versions of the hymns specifically for the recording (music found here under the entry for Theophany, 6 January); the protopsaltis is Rassem El Massih, a graduate of the Archdiocese of Tripoli’s School of Byzantine Music, and the choir roster is a who’s who of the new generation of Byzantine cantors in AOCNA — including Gregory Abdalah, Basil Crow, Jamil Samara, and Khalil Samara. Dn. Nicholas, Sonia’s husband, is also a part of the ensemble. As the notes say, the goal was to produce a recording of traditionally chanted Byzantine hymns re-composed for the English music, and specifically in the style idiomatic to the Patriarchate of Antioch.

I’ve only listened to it all the way through a couple of times thus far, but my initial impressions are that the result of their efforts is top-drawer through and through. The ensemble sings together beautifully and is very well-coordinated; the English diction is clear as a bell, and hearing the melodies match the English texts as well as they do is very refreshing. The liner notes do a moving job of telling the reader who Sonia is and just why she inspired both the recording project as a whole as well as this particular repertoire.

One curious thing I’ll note is that, as good as the English diction is — compare, for example, with the Mt. Lebanon Choir — the kind of sound the ensemble produces made my ear expect Arabic when I first popped in the disc. It took about ten seconds for me to be able to “hear” the English; when I listened to it a second time, I couldn’t believe that I’d had a problem in the first place. Go figure.

I’d like to thank Basil Crow and Khalil Samara for sending me the disc, and all involved for contributing a fine example of what traditional Byzantine chant can sound like when sung well in English. I’d like to encourage anybody who knew Sonia, or who might be interested in Byzantine chant or Orthodox Christian education, to buy this CD; it’s a more than worthy effort, and a more than worthy cause.

Unanticipated interest

I’m taking most of this week off. Megan’s grandmother on her father’s side passed away last Thursday — memory eternal, Frances — and while we’re not traveling for her funeral, it was evident that it would be beneficial for me to spend a few days at home. Plus, I have some vacation time I need to use or lose, and our friend Benjamin Czarnota has been here for a visit.

The other positive, if not exactly enjoyable, thing has been using the time to make use of my insurance benefits while I still have them. So, Monday, I got an eye exam — dilation makes me intensely irritable, by the way, because I can’t bloody read, but the upshot is that my prescription hasn’t changed — Tuesday I got a dental checkup and cleaning, and then, this morning, as a result of yesterday’s dental checkup, I got a root canal. For a variety of reasons, this was not entirely unexpected — let me simply say that delaying having one’s wisdom teeth removed by five years can have far-reaching consequences, and I do not recommend it as a course of action.

I am hopeful that tomorrow might not randomly involve invasive surgery.

Anyway, something very unexpectedly cool that happened today is that, after four years of talking about the whole choir schools thing and having people not get it and/or otherwise ignore me, the publication of the piece in AGAIN has generated interest from a rather unanticipated source. I got a phone call from the church today saying that such-and-such person from such-and-such entity had read my article, really liked it, and wanted to do an interview about the ideas I was discussing. I called this person back, we had a lovely chat, and it looks like this is going to happen in a couple of weeks.

Now, similar interest in a different piece has come from a different-but-similar source before, but this is different in that what’s been asked for is an interview rather than a reading, and the entity in question is taking responsibility for the recording and editing themselves. (Since I didn’t say anything else about that recording, I’ll say now that after posting the file to the FTP site specified, I never heard from the people in question again. I’m reasonably certain that what happened is that probably the quality I was able to achieve at home wasn’t up to snuff, which is not anything I take personally, but this particular institution not having the wherewithal to make its own recording arrangements is something that’s going to rather severely limit its potential contributors. Oh well). Anyway, I’m still not going to go into too many details until it’s a done deal and I know exactly what’s going to happen and when, but it’s still a rather exciting development, and we’ll see if it’s actually meant to be.

The narrative of decline vs. the narrative of continuity in Byzantine music

Such profound hostility to the performing practice of the received tradition made the sanitisation of Byzantine chant a fundamental prerequisite for its acceptance and consumption by Westerners and Westernised Greeks. Conscious emulation of the Solesmes restoration was, as we have already indicated, a particularly ingenious solution to this problem. Adoption of the earliest manuscripts as the sole arbiters of authenticity and without grounding them in a developed concept of performing practice meant that Tillyard, Wellesz, and Høeg were able to bypass entirely the embarrassing “nasal singing” of traditional Greek cantors in favour of a hypothetical reconstruction that was both aurally and methodologically fashionable. With everything distasteful thus reassuringly dismissed as “Arabo-Turkish” accretions, its new Western curators could ensure that Byzantine music “in all its original purity” assumed its rightful place alongside Gregorian chant in the pantheon of European musical history. (Alexander Lingas, “Performance Practice and the Politics of Transcribing Byzantine Chant”, Acta Musicae Byzantinae VI, Iaşi, Romania, December 2003, p. 74)

Full article is here. It’s a barnburner, and tells you not only what Lingas thinks of the “narrative of decline” but also what Greek chant specialists thought of it while it was initially being promulgated in the first place. (A tip of the hat to Basil Crow, who passed this along.)

On Bright Friday: Christ is risen! Indeed He is risen!

This is the time of year, the last week before dead week, when I typically find myself scratching my head, thinking, “Where the heck did the school year go?”

Heck — where did April go?

Tomorrow will be the first Saturday here at home when I haven’t had to set an alarm since February. Note to self: next year, when you’re asked if you’re up to 8am Saturday Liturgies all throughout Great Lent, say “no”.

Anyway… getting home after the trip to Seattle, I was ragged to say the least, but I was nonetheless returned to your regularly-scheduled Byzantine Holy Week, already in progress. To say it was bizarre I’m not sure really covers it; being in the midst of a death in the family (and recovering from bronchitis before we left), and having missed, more or less, Palm Sunday, plus all of the Bridegroom Matins services, as well as having broken the fast while traveling, during Western Easter no less, to just drop in with Unction on Wednesday and return to fasting for all of five days just felt weird. Also, since my experience of Orthodox Christianity has been very much in the context of my marriage, having my wife gone made it even weirder. By the time people were yelling “CHRIST IS RISEN!” late Saturday night, I just had to admit — “Sorry, not feeling it this year.”

Which makes it a good thing that the Resurrection of Christ does not particularly depend on my feelings, I suppose.

Agape Vespers Sunday morning found me missing a perfect fifth at the top of my voice and in possession of an extra major third at the bottom. Such was the case for much of my choir. Folks, I will write a separate blog post about this later, but let me beseech, implore, plead with, beg you — for the health, sanity, and vocal longevity of your choir and cantors, when you decide upon a mission space or build a church, however temporary you plan for it to be, acoustics and an intentional, non-negotiable place for your choir and cantors are not a “nice to have”. They are a “need to have”. Low drop ceilings with acoustic tiles and carpets cannot be considered a reasonable option, because then your choir and cantors, who likely won’t be trained singers in the first place and who won’t have any way of adjusting for how an acoustically dead space messes with your hearing or your singing — to say nothing of your priest, particularly during Holy Week — will have really no option in the long haul but to yell through services against the room or just not be heard — and frankly, you probably won’t be heard terribly well anyway. As well, to haphazardly jam the choir into a corner they were never meant to occupy, where they are walled in by, well, a wall, the congregation, the solea, and the plane of a deacon’s door, particularly on Pascha when you’ve got extra choristers as well as people’s baskets encroaching on what is already too little space — well, it just doesn’t work very well, from any standpoint. Do not tell yourself, “Well, the space is temporary, so we’ll just make do while we have to,” either — temporary is a guest with a habit of staying late.

But I’ll come back to that another time.

After Agape Vespers, I was prepared to go home, make my Paschal nachos, bottle beer, catch up on some homework, and then go pick up my wife at the Indianapolis airport at 10:30pm.

Did you hear that? That was God elbowing me in the ribs, saying, “Gotcha good, didn’t I?”

At 3:30pm, I got a phone call from Megan at the Seattle airport. The short version is that, thanks to weather, the Chicago-to-Indy leg of her flight had been cancelled, and because it was a FAA-imposed delay which caused the cancellation, there really wasn’t much United Airlines was willing to do beyond to say, “Have a nice night at O’Hare and we’ll get you on standby the next day… at some point.”

“All you have is carry-on luggage, right?” I asked.

“Yes.”

“OK. I’ll see you in Chicago.”

I quickly called friends to let them know that nachos would have to wait, and I left at 4:30pm (EST) to try to intercept the 8pm (CST) flight.

Thanks to an eight-mile backup on northbound highway I-65 (the left lane was closed for construction, although no actual construction was occurring that I could see), I finally got there about 9:30pm (CST), or 10:30EST — the time I was supposed to pick her up in Indianapolis in the first place.

We got home around 3:30am (EST), making it an impromptu eleven hour round trip. Thankfully, Megan was up to driving most of the way home so I could sleep, since I had to go to work the next morning.

It was a great start to the week.

I am, however, finally caught up with all of the Greek homework that I missed while I was sick and subsequently out of town, as well as ready, more or less, for the conference paper-style presentation of my research project for the history seminar I’ve been in this semester. It will be a work in progress, and I’ve already said I’ll need an incomplete for the full paper given all the surrounding circumstances, but I at least have something to show people, and I think it’s reasonably interesting. I think. In short, it has to do with how Coptic and Byzantine liturgical texts show us how each Church builds its communal identity relating to, and institutional memory of, the Council of Chalcedon with the rhetoric employed in the relevant hymnody, synaxarion readings, and even in fixed portions of the Liturgy such as the Commemoration of the Saints in the Coptic rite, and so on.

We’ll see how it plays in Peoria. I don’t think I can assume any liturgical knowledge whatsoever, so a good chunk of my time is having to be taken explaining various segments of the different services. Hopefully eyes won’t glaze over too much.

So, besides not having gotten enough sleep in two months and coming up on the end of my part-time status as a student, I can say that I appear to have a chant teacher while I’m in Greece, I have my renewed passport, and we have Megan booked to come out to Greece for the last 9 days or so that I am there.

I had received some suggestions about chant teachers, but held off acting on any of them until a particular individual got back to me. This person finally did, saying, “Well, here’s how you get in touch with Lycourgos Angelopoulos as well as Ioannis Arvanitis.” The catch with Πρωτοψάλτης Λυκούργος, alas, is that he speaks Greek and is “able to communicate in French”; I’m not sure I want to depend on languages which are works in progress for this kind of instruction, so I sent an introductory e-mail to Arvanitis in Greek (proofread by my friend Anna Pougas, so that I wasn’t inadvertently telling him “έχω τρία αρχίδια” or anything like that) and in English. He wrote back in English, saying yes, I’ll be here, here’s my number, call me when you get to Athens. We’ll see what can actually be done in seven weeks, but I’m looking forward to actually getting to learn even the most basic of basics from somebody who actually knows what they’re talking about and who has had the real thing in his ear and his blood for his whole life.

Anyway — life is slowly returning to manageable levels. At least until it’s time to leave my job and go to Greece for the summer.

Christ is risen! Indeed He is risen!

In which I finally find a reason to jump on the Susan Boyle bandwagon

Susan Boyle, as we all know by now, is naturally talented and beautiful on the inside, however her looks may rub our preconceptions a bit the wrong way. This is in marked, to say nothing of relieving, contrast to many people who go after the same dream as she is at present.

But, you know, it’s not news to me that somebody who looks like something other than a supermodel can sing. Unfortunately, neither is it news to me that many people had expectations about her based on her looks (which were, thank God, subsequently confounded).

No, the bit of this story that finally grabbed a heartstring or two was what she told Larry King:

She said she has no plans to get a makeover or alter her wardrobe — “Why should I? Why should I change?” — but did predict one big lifestyle change.

“I won’t be lonely,” she said. “I certainly won’t be lonely anymore.”

Aw, man. Now, that gets me choked up, and even starts to make me just the teensiest bit mad. I’m not even entirely sure I can articulate why.

The death throes of various business models

Virgin Megastore is closing down; The Seattle Post-Intelligencer, my childhood newspaper, is going web-only, and its competitor/codependent sibling, The Seattle Times, may be following suit soon.

As a small child I once harbored fantasies of being able to organize clippings to create a real-life equivalent of Sherlock Holmes’ index; all I really managed to do was make a mess and hoard a large stack of issues of the P-I I would never be able to go through. For awhile I at least had a decent collection of clipped Phantom comic strips, and I still have virtually every item run between January and August 1989 on Tim Burton’s first Batman film in a scrapbook.

The music stores I frequented as a kid aren’t there any more; Love Music in Redmond (where a friend of mine and I drove late one night to get the new Hammerbox album on vinyl, speaking of things outdated), Easy Street Records in Kirkland (where I encountered Harry Connick Jr. once), Tower Records in Bellevue — all dead and gone, years ago. Borders and Barnes and Noble, my later retail enablers, seem to be increasingly less interested in CD sales. (“increasingly less”? Does that even make any sense?)

I will mourn the newspaper when its ultimate end arrives. It has been inevitable for some time; most of the last decade, it seems, has been the story of the decline of Seattle as a town where two dailies were viable. For a very brief period I worked for The Bellingham Herald; it was an illuminating look at a business which was horribly troubled even in 1998. It will be an odd day when the presence of a physical newspaper in a movie will be an anachronism which dates the work, but it is coming, and fast. Still, I’ve gotten the vast majority of my news via online sources for years now, and it hasn’t occurred to me that I want to buy a copy of a daily newspaper since at least 2003.

Much as I hate to admit it, however, I could not care less that the bricks-and-mortar music store is dying. Really, it’s been dead for awhile, depending on what your musical interests are — this is just a matter of the physical reality catching up with the industry. I have bought most of my music online since probably 2000 or 2001. If I see something I want in a physical store, unless it’s a copy of something that I’ve been looking for forever which has long seemed otherwise unavailable, I write down the name of it for reference and look for it on Amazon later — but the fact is, it is so rare that this happens it’s barely even worth mentioning. I’d love to be able to “buy local,” but the sad truth is that it’s been forever since small shops have been able to afford to stock what I like. I can’t find it at a small, local store even if I want to buy it there.

Regarding both the daily print newspaper and the bricks-and-mortar music store, there is simply no incentive, at least from this customer’s perspective, to stick with either business model when I can get what I want more easily, more quickly, and more inexpensively in other ways. Classical music, for example — and by that I mean the body of recordings which a classical music aficionado would actually want to buy, not Hooked on Mozart — has become harder to find at a physical retail store every time I walk into one for the last decade and a half. There’s just no point in even trying, when every time you walk in, you walk out frustrated — not when you can quickly search on Amazon and find the CD within seconds, usually even if it is out of print. I might also add that iTunes, which I originally thought would be a horrible format for classical music, seems to have figured out how to manage to make the “per-song” model work when each “song” is actually part of a bigger work. This is not just classical music, either; the further your tastes stray from the Billboard 200, the more this will be the case.

As far as the newspaper goes — y’know, nostalgia aside, let’s be honest. It’s intended to be a disposable medium anyway. Ephemeral as it effectively is (heck, the Greek word for newspaper is εφημερίδα ephimeridha), getting rid of the physical means of conveyance only makes sense, however much somebody like me, who wishes he could be cool enough to be a real Luddite, might want it to be otherwise. People aren’t going to pay for something disposable when there’s a free version that you don’t have to bother recycling, period. That said, I hope we don’t ever reach the point where we’re 100% paper-free; there is something about the interaction of content with substance that it would be a shame to totally lose. (There’s part of me that would like to argue that this is ultimately a form of Gnosticism, where media are irrelevant and content is everything, but I will need to revisit that another time.)

I raise a glass in memory of the newspaper; I frankly wish the CD store good riddance.


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